Other Articles, Reviews and Booklets

Dennis Kam: In Pursuit of the Positive

(Evading Expressionism If You Want To)

Delivered at the SCI Region IV Congress
Stetson University, November 3, 1995

I.

I wish to preface this paper with a few remarks in order to qualify some of the ideas presented- - for I believe that an understanding of their nature and intent, as well as the context out of which they arise, is as important as an understanding of their meaning. In fact, in the event that you disagree with my ideas, I will be satisfied if you at least understand why I propose them.

First, I would like to say that I speak from the standpoint of a practicing composer - not of a scientist or researcher, supporting ideas with data obtained from statistical or experimental studies. Ideas in this paper emanate primarily from direct involvement with composing and all that it entails - and numerous moments of reflection on what it is all about - rather than from mere observation, research, speculation, or theorizing. (I should mention, however, that as composers, we listen and react to a lot of music.)

While I realize that some of my notions may lack the kind of data offering empirical verification for belief and assent, I also believe that ideas verified or bolstered by, for example, statistical surveys of human perception are problematic because human reactions, feelings, and thoughts change over periods of time - and therefore cannot be conclusively reliable in describing modes of perception in art and music, which by nature, are also in constant flux. Obviously, this is not to say that statistical research is without value for it can provide concrete evidence for widely accepted or long-held beliefs and intuitive assumptions that are often true. Yet, even if information obtained from statistical tools were considered to be useful in establishing support for ideas within a certain time frame, they would still depend upon too many variables to be definitive or all inclusive. I sense that you and I, who are involved in the actual activity of composing, are liable to be more suspicious of supporting our beliefs with this sort of research than others who do not compose; we are more sensitive to its epistemological limitations.

Actually if anything, my personal slant to compositional issues has been influenced mostly by relatively recent thought in aesthetics and the philosophy of science. In these realms, I am especially indebted to a variety of scholars such as Peter Kivy, Nicholas Wolterstorff, Stephen Davies, Thomas Kuhn, and Paul Feyerabend. I mention their names because I have learned much from their writings and believe that they should be read by all composers. Unfortunately, time constraints and the nature of this presentation will preclude any attempt to deal with their superb work here. In addition, my approach will necessitate that ideas be stated without much scholarly documentation and elaboration. For this reason, you may feel that I open doors to many issues surrounding the central issue some of them in closets -- without letting you in. I hope that this will nevertheless create, in effect, some dialogue regarding these issues.

The second thing that I would like to say, with prefatory intent, is that my ideas should not be taken as prescriptive. [...]

A Study and Performance Guide to Dennis Kams Sonata Ibis for Clarinet, Violin, Cello, and Piano

and a Performance Comparison to Four Earlier Versions of the Work

A doctoral essay by Biljana Milovanovic.
May 2008

In 2005, Dennis Kam completed the Sonata Ibis which the ensemble Ibis Camerata premiered at the Festival Miami at the University of Miami that same year. The composition is the last of five versions of the same work, originally written for piano solo. The work was recorded by the Ibis Camerata, on their CD titled Glisten, and released in 2006 on the Albany Records music label. The composition presents an important addition to the existing repertoire for the ensemble of clarinet, violin, cello, and piano.

Sonata Ibis is a single movement work not following traditional forms. The work reflects the composer’s conscious aim of making works with different versions. One of the issues that this study takes up is the evolution of the Sonata Ibis through all five versions. Analysis of musical materials and techniques used in the Sonata are also a part of the study.

One chapter of this paper deals with Dennis Kam’s biography. One chapter discusses the formal structure and musical idiom of the work. Performance-related issues from the ensemble and a pianist perspective are discussed in the remaining two chapters.